[2] Her scientific and artistic household and the family house built by architect Irving Gill (where she lived from age six to eighteen) influence her work to varying degrees.

She developed new artistic techniques while combining her inherent nature of the media—the casting of resin, glazing of ceramics, the process of photography itself—and very constructed, layered or planned objects.

Her ability to explore the vital elements of nature (light, color, earth, space and time) while maintaining a spiritual, poetical and organic quality place Sara Holt’s body of work at the crossroads of science and art.

In the spring of 1969 she obtained a studio at the Cité International des Arts in Paris, where she continued to cast resin, and she met artists and critics including Erró, Alain Jouffroy, Frank Popper and Aline Dallier and, later, James Lee Byars, Henri-Alexis Baatsh [fr], Jean-Christophe Bailly, Meret Oppenheim and Joan Mitchell.

[7] Official recognition crystallized when Pierre Gaudibert organized her first individual exhibition[8] at l'ARC (Paris, 1971), a prestigious venue for contemporary art.

[9] She worked in bronze, plaster, ceramics and wool[10] but mainly in resin, a medium she discovered during her second summer course at Pasadena City College on David Elder's suggestion.

She spent almost a year in the USA in 1977 working on the " Double Rainbow ", an outdoor piece in welded and painted steel continuing to experiment with the spectrum and its effects through forms and subsequent surrounding space.

[17] The next set of photographs recorded the sky with two long exposures at varying degrees: the artist intervened only to move the camera and obtained the « Star Crossings ».